MAUPASSANT The Semiotics of Text Practical Exercises -- Editorial page -- Title page -- Copyright page -- Table of contents -- INTRODUCTION -- NOTES -- REFERENCES -- FOREWORD -- TWO FRIENDS -- SEQUENCE I. PARIS -- I. TEXTUAL ORGANIZATION -- 1. Spatial and Temporal Disjunctions -- 1.1. Temporality -- 1.2. Spatiality -- 2. Actorial Disjunction -- II. THE FIRST SENTENCE -- 1. Thematic Roles -- 2. Aspectual Structures -- 3. A Logic of Approximations -- III. THE SECOND SENTENCE -- 1. The Discoursive Isotopy -- 2. SpatialRepresentation -- 3. Semantic Explicitation -- 4. Axiological Investments -- IV. THE THIRD SENTENCE -- 1. The Spatial Figure of Paris -- 2. Toward the Abolition of Meaning -- V. FINAL REMARKS -- SEQUENCE II. FRIENDSHIP -- I. THE SEQUENCE AND ITS CONTEXT -- 1. Intercalation -- 1.1. Disengagement -- 1.2. Engagement -- 2. The Linearity of Discourse -- 2.1. The Cognitive Dimension and its Figurativization -- 2.2. The Actorial Isotopy of Discourse -- 2.3. Anaphorization and Cataphorization -- II. THE INTERNAL ORGANIZATION OF THE SEQUENCE -- 1. Paradigmatic Organization -- 1.1. The Demarcators -- 1.2. Segmentation -- 1.3. Symmetries and Dissymmetries -- 2. Syntagmatic Organization -- 2.1. Doing and Being -- 2.2. Doing -- 2.3. The Pivot -- 2.4. Being -- III. EUPHORIC DOING -- 1. The Discoursive Program -- 2. The Valorization of the Program -- 3. The Installation of the Dual Actant -- IV. THE FIGURATIVE UNIVERSE OF VALUES -- 1. The Identification of Values -- 2. The Transfigurations of the Sun -- 3. Aquatic Mist -- 4. Celestial Mist -- 5. Solar Blood -- 6. The Seeming of the Sky -- 7. The Semiotic Square -- V. ACTANTIAL DISTRIBUTION -- SEQUENCE III. THE PROMENADE -- I. THE STATUS AND THE ORGANIZATION OF THE SEQUENCE -- 1. The Spatio-temporal Frame -- 2. The Promenade -- 3. Walking and Halting -- II. THE ADVENT OF THE EVENT.

1. Temporalization and Aspectualization -- 2. The Focalization of the Actor-Subject -- 3. Triggering of Narration -- III. RECONSTITUTING THE ACTANT -- 1. Recognition -- 2. The Reunion -- 3. The Virtualization and the Actualization of Contents -- 4. The Institution of Illusion -- IV. THE COMPETENCE OF THE SUBJECT -- 1. The Actualization of Wanting-to-do -- 2. An Illusory Being-able-to-do -- 3. The Tricksters -- 4. The Two Figures of the Trickster -- 5. The Non-Sender -- 6. The Act -- SEQUENCE IV. THE QUEST -- I. PROVISIONAL SEGMENTATION -- II. FAMILIAR SPACE -- 1. The Pass -- 2. The Spatial Organization of the Narrative -- 2.1. The Crossing -- 2.2. The Space of Folktale -- 2.3. Spatial Engagement and Disengagement -- 2.4. Uttered Space -- III. TOPICAL SPACE -- 1. New Segmentation -- 2. The Interpretive Halt -- 2.1. The Exploration of Topical Space -- 2.2. Interpretive Doing -- 2.2.1. Variations of the Isotopies -- 2.2.2. The Fiduciary Relation -- 2.2.3. The Actualization of the Antactant -- 2.3. The Social Anti-sender -- 2.4. The Qualifying Test -- 2.4.1. Anxiety -- 2.4.2. Cheeky Humor -- 2.4.3. Hesitation -- 3. Persuasive Displacement -- 3.1. The Pragmatic Program -- 3.2. The Cognitive Program -- SEQUENCE V. PEACE -- I. PROBLEMS OF SEGMENTATION -- II. THE CONSTRUCTION OF COGNITIVE SPACE -- 1. The Quest for Solitude -- 2. The Absence of the Anti-subject -- III. THE PERFORMANCE OF THE HERO -- 1. Textual and Narrative Analysis -- 2. Semantic Analysis -- 2.1. A Little Silvery Creature -- 2.2. Joy -- 2.3. Heat -- 2.4. Conditions for Successful Fishing -- SEQUENCE VI. WAR -- I. TEXTUAL ORGANIZATION -- II. MOUNT VALERIAN -- 1. Sound and Silence -- 2. The Anthropomorphic Figure -- 3. The Sociolectal Universe and the Ideolectal Universe -- 4. Deadly Doing -- III. DEATH AND LIBERTY -- 1. Segmentation -- 2. "That's even worse than animals".

3. Nature and Culture -- 4. The Social Proto-Sender -- 5. "One Would Never be Free" -- 6. The Narrative Pivot -- 7. The Presence of Death -- SEQUENCE VII. THE CAPTURE -- I. TEXTUAL ORGANIZATION -- 1. The Frame of the Sequence -- 2. Internal Articulation -- II. THE PRAGMATIC DIMENSION -- 1. The Anti-subject's Narrative Program -- 2. Objects of Value: 02 -- 3. Objects of Value: Ol -- 4. The Subject of Doing and the Subject of Being -- 5. The Structure of the Anti-subject -- 5.1. The Actantial Roles of the Anti-subject -- 5.2. The Antactant's Taxonomical Structure -- 5.3. The Anti-subject's Narrative Structure -- III. THE COGNITIVE DIMENSION -- 1. "Point of View" -- 2. Dual Recognition -- 3. Speaking -- SEQUENCE VIII. REINTERPRETATION -- I. TEXTUAL ORGANIZATION -- 1. The Frame of the Sequence -- 2. Internal Articulation -- II. THE ESTABLISHMENT OF DISCOURSE -- 1. Rhetorical Procedures -- 2. Setting up the Enunciation -- III. SECOND DEGREE DISCOURSE -- 1. A Counter-reading -- 2. The Reading of S1's NP -- 3. Interpretation and the Canon -- 4. Return to Interpretation -- 5. Thematic Roles and Trajectories -- 6. The Revelation of the Secret -- 7. The Transfer of Responsibilities -- 8. The Ideology of Domination -- 9. The Informative Utterance -- SEQUENCE IX. THE REFUSAL -- I. TEXTUAL ORGANIZATION -- 1. The Frame of the Sequence -- 2. Internal Articulation -- II. THE ANTI-SUBJECT'S NARRATIVE PROGRAM -- 1. Narrative Competence -- 1.1. The Explicit NP -- 1.2. The Implicit NP -- 1.3. The Construction of the NP -- 2. Narrative Performance -- 2.1. The Exchange Proposition -- 2.2. Persuasive Doing -- 2.3. TheUse NPs -- 2.4. The Dilemma -- 2.5. Toward Textualization -- III. THE SUBJECT'S NARRATIVE PROGRAM -- 1. Interpretation of the Values Offered -- 1.1. Axiological Incompatibilities -- 1.2. The Subject According to the Lie.

1.3. The Subject According to the Secret -- 2. The Interpretation of the Requested Counter-value -- 3. The Narrative Program of Liberation -- 3.1. S1's Complex NP -- 3.2. The Intervention of Mount Valerian -- 3.3. The Organization of Silence -- SEQUENCE X. DEATH -- I. TEXTUAL ORGANIZATION -- 1. The Frame of the Sequence -- 2. Internal Articulation -- II. THE ECONOMY OF THE SEQUENCE -- 1. The Patriotic Isotopy -- 2. The Performance -- III. THE LAST ATTEMPT -- 1. The Warning -- 2. The Unsuccessful Separation -- 2.1. The Individualization of the Programs -- 2.2. Proxemic Interplay -- IV. FAREWELL -- 1. The Paradigmatic Network -- 2. The Comparison of Values -- 2.1. Actors or Actants? -- 2.2. Values of the Subject and of the Object -- 2.3. The Actualization of Existential Values -- 2.4. The Dichotomization of the Subject -- 3. The Reconstitution of the Dual Actant -- 3.1. The Two Positions of the Dual Actant -- 3.2. Reciprocal Recognition -- V. MARTYRDOM -- 1. The Last Confrontation -- 2. The Vacuity of the Sky -- 3. The Christian Parable -- SEQUENCE XI. THE FUNERAL -- I. TEXTUAL ORGANIZATION -- 1. The Frame of the Sequence -- 2. Internal Articulation -- II. THE TRANSFIGURATION -- 1. The Procedure of Overshadowing -- 2. The Immersion -- III. RECOGNITION -- 1. The Manifestations of Water -- 2. "A little blood floated" -- IV. THE FUNERAL ORATION -- 1. The Axiology of the Anti-subject -- 2. The Ideology of Power -- 3. The Redistribution of Knowledge -- SEQUENCE XII. THE CLOSURE OF THE NARRATIVE -- I. TEXTUAL ORGANIZATION -- 1. The Frame of the Sequence -- 2. Internal Articulation -- II. THE CONSUMPTION OF THE FISH -- 1. A "Delicious" Experience -- 2. Cognitive Doing -- 3. Pragmatic Doing -- 3.1. The Warrior's Reward -- 3.2. The Gift of the Dish of Fried Fish -- 4. The Resumption of the Christian Isotopy -- III. THE CONSUMMATION OF THE EVENT -- FINAL REMARKS.

INDEX RERUM.